Supposedly ‘The Mastermind’: A Failed Heist And A Male Failure
- Hannah Philcox-Booth
- 21 hours ago
- 3 min read
The recent Louvre robbery has caught the world’s attention. This short eight-minute heist reads like a movie – speedy and brazen. Does our fascination with this crime reveal how drawn we are to such plots? Clearly, the allure of such a heist captures our interest. And coincidentally, Kelly Reichart’s recent feature, The Mastermind, shown at the BFI London Film Festival and in (UK) cinemas now, also follows an art heist. However, unlike the recent eight-minute Louvre theft you should not expect anything fast-paced. The Mastermind, which follows a robbery in 1970s Massachusetts, is not suited for fans of the heavy crime genre, but rather serves as a slow musing for cinephiles. Reichart uses her auteur signature of slow-cinema to explore a small-scale, rather comical crime.
It seems Reichart has inherited her family’s interest in crime, with her mother being a narcotics agent and her father a crime scene detective. But rather than channeling her fascination through police or law enforcement, Reichart expresses it in a more artistic form. Viewers familiar with Reichart’s First Cow will recognise the director’s use of petty crime in her plots to create a slow, simmering tension. With The Mastermind, Reichart again proves her expertise in minimalism and pacing, where the drama lies not in suspenseful twists but in small gestures, silences and pauses. Reichart’s background in photography and fine arts also shines through with an obvious eye for composition. Each frame feels painted, emphasising space and stillness over narrative urgency. The opening and title sequence are the perfect exemplification of the quaint aesthetics of the movie, with autumnal colouring and up-tempo jazz scoring.
As stated, The Mastermind diverts from a fast-paced robbery plot. It’s a slow-paced, almost cosy, comedic film. Most of the plot follows the repercussions of the heist, watching our protagonist stray through American landscapes. Another divergence from possible expectations is the lack of a protagonist to root for. Whilst our leading man is played by beloved British actor Josh O’Connor, the character of JB Mooney is certainly not a character you’ll be rooting for.Â
Our leading man is, in simple words, a bum; a washed-out, burnt-out art school dropout who appears completely disillusioned with his life. As a result, he is a bad father to his children, a useless husband to his wife, and a manipulative son to his parents. Viewers will ponder the motives behind his actions. His title as ‘The Mastermind’ is surely an ironic comment on how his actions surely make him the opposite – ‘the bungler’ if you will. JB Mooney throws those around him into domestic disarray for a cause that appears to simply be thrill-seeking. The fallout of the heist is not placed upon his head but on theirs. To be honest you’ll probably spend the movie rooting for this knit-clad criminal’s downfall.
The characters who will evoke your sympathy are those left behind by JB’s thrill-seeking antics. His children’s strange, disorganised ramblings will warm your heart, JB’s wife will evoke pity and you will match his parents' quiet disappointment. Left to ponder the motives of the so-called ‘mastermind’, viewers share the other characters’ frustration and confusion over JB’s erratic choices. The supporting cast, which includes recognisable names of Alana Haim and Bill Camp, display reactions that exemplify the shambles left from JB’s actions.
The plot is deepened through the resentment left in the wake of JB’s actions. Is JB Mooney likeable? No. But is he fascinating as a character study? Yes. Considering his evident love of art and his background as an artist, his theft might serve as a metaphor for creative frustration or failed ambitions. Nonetheless, I think his actions can be seen as a disrespect toward both the people in his life and the very art he claims to value. Â
JB Mooney emerges as a portrait of failed masculinity: a bad father to his children and a man of little success. JB Mooney is a fading dreamer. Is the heist a desperate attempt to reclaim a lost artistic identity or perhaps simply the decision of a spoiled man-child with too much time on his hands? Alienating himself from his life, Mooney becomes one of Reichart’s quintessential outsider figures: lonely and morally ambitious, left to drift. Ultimately, Reichart’s The Mastermind is a quiet, contemplative film, cosy and perfect for Autumn viewing, as it charmingly explores a failed heist and a male failure.
The Mastermind is in UK cinemas from October 24th 2025.Â
Edited by Hannah Tang, Co-Editor of Film & TV
